The Week Ahead: Jan. 14 to 20

Arguably, no American dance outfit has a stronger brand than the Martha Graham Dance Company, the organization founded in 1926 by a woman whose dance talent has been likened to Picasso’s artistry and Frank Lloyd Wright’s architecture. Graham’s influence hangs heavily over a program of classics and premieres: The dancer’s grief-ridden 1930 solo “Lamentation” will be rebooted by some of today’s top choreographers—including Lar Lubovitch and Yvonne Rainer—in “The Lamentation Variations,” while the brand-new work “Rust” features five rangy male dancers expanding their dance vocabulary under the direction of Nacho Duato, one of Spain’s most renowned modern choreographers.

Garrison Keillor at Society of the Four Arts, 2 Four Arts Plaza, Palm Beach; 3 p.m.; free for members; $15 to $35 nonmembers; 561/655-7227 or www.fourarts.org

The disarmingly funny host of NPR’s “A Prairie Home Companion” has almost single-handedly resuscitated a long-dead American tradition: the radio variety show. He often wears the hats of singer, actor and comedian on his program, which broadcasts to more than 3 million listeners on 450 public-radio stations and has attracted major names in the country, folk and pop music worlds to perform live. A fine progenitor of “Minnesota nice,” Keillor has gone a long way toward importing his particular notion of Midwestern idealism to the rest of the country, while remaining an occasionally acerbic voice of political incorrectness. He’s also a prolific author, having penned eight books about his fictional hometown, Lake Wobegon. Look for a recap of Keillor’s lecture later this week on bocamag.com.

Artists inevitably thrive when documenting their own zeitgeist, and it’s no surprise the Pop Art movement emerged when middle-class Americans joined the consumption class: two-car garages, refrigerators, microwaves, televisions and, of course, Campbell’s soup cans. Some of the 100-plus works in this exhaustive exhibition cover the birth of Pop Art, when artists such as Warhol and Lichtenstein sardonically commented on the kitsch of advertising and corporate America; but, as the exhibit also shows, art also influenced consumerism, creating a two-way street that blurred, and continues to blur, boundaries between pop and art. Expect pieces from luminaries like Keith Haring, James Rosenquist, Tom Wesselmann in others, in an exhibition that runs at the Boca Museum through April 23.

Friday

Opening day of “Liv & Ingmar” at Living Room Theaters at FAU, 777 Glades Road, Boca Raton; show times pending; $6.50 to $9.50; 561/549-2600 or fau.livingroomtheaters.com

Nearly every great male filmmaker in the world has had his female muse – the dynamic woman who lights a fire under him both on and off the screen. For Ingmar Bergman, the innovative Swedish maestro, that person was most certainly Liv Ullmann, the actress he met filming his influential masterpiece “Persona” in 1965. Despite a 22-year-age difference, they fell in love and made a number of other classics together, all the way through Bergman’s 2003 swan song “Saraband.” As befitting the mercurial director, their relationship didn’t always come up roses; it was tempestuous as well as loving, as this new documentary about their coupling suggests. The film is told entirely from Ullmann’s point of view, with her candid remembrances interspersed with vital film clips, behind-the-scenes footage and personal letters.

A few months after producing “The Beebo Brinker Chronicles” – a play adapted from a pioneering series of lesbian pulp fiction novels – Kim Ehly’s Kutumba Theatre Project mines thematically similar, if geographically disparate territory, with her company’s latest production. “Julie Johnson” is about a woman, unhappily married to a man, whose burgeoning feelings for a female friend open up new worlds to her. First performed in the early 1990s, “Julie Johnson” centers on a Hoboken housewife whose sexual awakening parallels her intellectual awakening, as she breaks from suburban drudgery to pursue the long-awaited education she deserves. “Julie Johnson” was adapted for film in 2005, where it starred Lili Taylor and Courtney Love, but Kutumba’s mounting presents a rare opportunity to see this moving dramedy in its original form. It runs through Feb. 9.

Back in the olden days, a term like “sunshine blues” would be an oxymoron. Blues music used to be made by lonely people crying out in the darkness, the sort who released emotional exorcisms in cramped rooms during witching hours, not outdoor amphitheaters in the middle of the day. But we here in South Florida like our sun and our blues, and we’d hate to eschew either. The sun may beat down on the performers of this second annual one-day festival, but the music will reach into the storied traditions of ragged blues, rock, funk and jam-band experimentation. The Tedeschi Trucks Band will once again highlight the festivities, this time supporting its sophomore album “Made Up Mind,” and the stellar lineup also includes JJ Grey, Galactic, Leon Russell, Stanley Clarke and an acoustic set from Hot Tuna.

Bob Margolin at Arts Garage, 180 N.E. First St., Delray Beach; 8 p.m.; $25 to $35 in advance, $5 more at the door; 561/450-6357 or www.artsgarage.org

The Arts Garage continues to be a wonderful outlet for prominent jazz and blues artists that otherwise wouldn’t have a venue in which to perform, and tonight’s evening with Bob Margolin is no exception. The 64-year-old electric blues axman, back by popular demand after a January show last year at Arts Garage, has enjoyed a storied career, plying his trade of rolling melodies and heartbreak with none other than Muddy Waters–a gig that landed him a part in Martin Scorsese’s documentary “The Last Waltz.” Nicknamed “Steady Rollin’,” Margolin has also performed with Pinetop Perkins, Etta James and Johnny Winter, and his concerts are filled with warmth, humor and spontaneity.

There’s Malcolm X, middle finger poised against his cheek, his hand clutching a folded newspaper that screams “TO UNITE!” in loud type. Here are white construction workers, Confederate flags emblazoned on their hard hats, staring down at a young African-American girl. Nearby, Martin Luther King Jr. leads a march, and a black child sits on the wheel of a stagecoach next to a torn banner reading “I Have a Dream.” These are just a few of the images photographer Bob Adelman shot during his six years chronicling the American Civil Rights movement for magazines such as Look, Life and Newsweek. If there was an iconic image from the movement that would eventually burn into our collective retina, chances are Adelman shot it, all the way through to MLK’s funeral in 1968. In honor of the 50th anniversary of the Civil Rights Act of 1964, the Museum of Art will present a retrospective of Adelman’s gripping photographs, many of them never exhibited before.